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The Ancient Art of Kalamkari: Problems and Prospects with Special Reference to Pedana, Andhra Pradesh

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The Ancient Art of Kalamkari: Problems and Prospects with Special Reference to Pedana, Andhra Pradesh International Journal of Science and Research (IJSR) ISSN: 2319-7064 ResearchGate Impact Factor (2018): 0.28 | SJIF (2019): 7.583 The Ancient Art of Kalamkari: Problems and Prospects with Special Reference to Pedana, Andhra Pradesh Maddala Sravani1, Chiruvoori Ravi Varma2 Krishna University, Machilipatnam, Andhra Pradesh. 521001 India Project Director – ICSSR sponsored project on Problems and prospects of Kalamkari units in Machilipatnam, Andhra Pradesh Sanjeev Institute of Planning and Management, Kakinada, Andhra Pradesh. 533003 India Research Associate – ICSSR sponsored project on Problems and prospects of Kalamkari units in Machilipatnam, Andhra Pradesh Abstract: This article is a descriptive study on painted and printed textile tradition of Kalamkari units of Andhra Pradesh, using mordants and natural dyes. Initial representation of Kalamkari art was as religious paintings that depicted Indian Gods. Kalamkari started off during the Mughal dynasty and presently Andhra Pradesh is the largest producer of Kalamkari fabric. With the emergence of high quality machine looms and acceptance for printed textiles; Kalamkari art came on the verge of extinction. However, printed Kalamkari is a new craze among the current generation, as it is a combination of traditional and modern trends. Present research study examines brief history of Kalamkari Art and this article is an investigative in nature. Present study sheds some light on Kalamkari workers of pedana village. It is an attempt to reveals problems and prospects of Kalamkari workers in various aspects like change in production process or technology, marketing opportunities, availability of raw materials, infrastructure, environmental factors etc. Keywords: Kalamkari, painted textiles, block printing, pedana, Problems of Kalamkari workers trade in India in the 18th and 19th century. Though the art of 1. Introduction dye painting fabrics is known as an ancient tradition in India it is not certain as to when it all began but certain evidences Kalamkari is an ancient textile printing art that finds its roots revealed that the origins of the art were found in since 16th in the state of Andhra Pradesh. Kalam implies pen and Kari century. means art a name given by the Mughals when they discovered the art during their reign over the Deccan region. Kalamkari gained popularity as a temple art in the south of Kalamkari is the art of drawing and painting with a bamboo India in the Kingdom of Vijaynagar. It flourished around pen using natural dyes. There are two main styles of Hindu temples as supplements for murals in the interiors of Kalamkari. The block printed that is practiced in the town of temples. At that time the themes were mainly religious. Machilipatnam and the hand painted style that is largely Minstrels would paint mythological figures on cloth and practiced in the town of Srikalahasti. Present study is to wander from place to place singing and spreading the word bring some insights on Kalamkari units in a small village of God. It was a part of a popular cult and due to its vast pedana near Machilipatnam city, Andhra Pradesh. rural base became a representative of the grass root culture of India. 2. Research objectives Simultaneously the art of textile painting and printing also existed in western India in the states of Gujarat and The research will be carried out with the following Rajasthan. ‗From contemporary trade records it appears that objectives the principal cotton painting centres in the 16th and 17th a) To examine the history and growth of Kalamkari century were Burhanpur in Khandesh, Sironj in Rajputana products. (now M.P), Agra, Petaboli and Palakollu on the Golconda b) To examine the existing potential market and possible sea board and certain towns like Kalahasti in hinterland of threats to Kalamkari units. Madras.‘ Das (1992). c) To offer suggestions to policy makers and entrepreneurs. The interconnection of the western and deccan styles took 3. Research Methodology place only later in the early 16th century when the Mughals subjugated the Vijaynagar Kingdom. The painting tradition Present study is a descriptive and investigative in nature. did not have a specific name until the Sultans of Golconda Most of the data is collected from secondary sources like discovered the art. They gave it the name Kalamkari, journals, articles, news reports, and Government reports. ‗kalam‘ meaning pen and ‗kari‘ implying art. 4. Brief History of Kalamkari In the 17th century, Kalamkari saw a rise in demand from the Mughals, Persians, Dutch as well as the British. ‗The The textile tradition in India is said to be more than 3000 Kalamkari fabrics of India with jewel bright colours, printed years old. The Indian silks and brocades have been famous and painted in fascinating and intricate designs caught the among the rich around the world but the simple Kalamkari fancy of women in England and France and became the on cotton made a wide impact and revolutionized the textile fashion for daily wear.‘ Ramani (2007). Volume 9 Issue 7, July 2020 www.ijsr.net Licensed Under Creative Commons Attribution CC BY Paper ID: SR20713172207 DOI: 10.21275/SR20713172207 1099 International Journal of Science and Research (IJSR) ISSN: 2319-7064 ResearchGate Impact Factor (2018): 0.28 | SJIF (2019): 7.583 What attracted them the most was the ‗brilliant colouring, b) About Pedana Kalamkari Work undimmed by repeated washes, the light texture and drape of Pedana is a small town just 13 km from Machilipatnam, the the fabric, and it‘s strength and durability were a unique and Krishna district headquarters in coastal Andhra Pradesh. unprecedented combination, rendering the cloths suitable for This small place has carved a niche for itself with its own a variety of uses‘ Chisti & Jain (2000). style—Kalamkari block printing. Over 1,200 artisan families in pedana survive on making vegetable dyes, blocks and a) Downfall printing of 25 distinctive Kalamkari textiles, including ‗As early as 1670s complaints had started to be heard from bedsheets, lungis, kerchiefs, curtains, Punjabi suits and English weavers about the influx of cotton from India, by sarees. Kalamkari has got rich heritage from ages by making 1696 dyers and linen drapers had joined the protest. 5000 various products in different styles. Most of the units are English weavers mobbed the House of Commons in a mass small and labour intensive. These units are providing protest against Indian imported goods. Finally in 1701 a law employment to women and youth of pedana. was passed forbidding the import of Indian dyed or printed Materials used in making Kalamkari: cottons and silks into Britain, except for re-export.‘ Crill Cotton Cloth (2008). Indigo Blue Alzarin This was the beginning of the downfall of Kalamkari. There Anar are many other reasons why Kalamkari declined so A solution of alum, tamarind and Indian madder root drastically among all other fabric crafts of India. One of the Pobbaku early reasons was the establishment of the European cotton Ventilago Madraspatana Gartan (Surudu Chekka) Industry in the eighteenth century. Workers were thrown into Myrobalan punery and master craftsmen died without heir to their trade Mango Bark and Pomegranate secrets. Also the rise of the batik industry in Indonesia in the 19th century leads to India‘s loss of market for the cloth. According to sources, Hand block-printed Kalamkari is a (Gillow and Barnard, 1991). tedious and time-consuming process involving a minimum of 10 steps. Important steps in making Kalamkari are: Dr. Bhatnagar (2011) opines ―So clothed in ritual and superstition was this craft that for many years it was 5. Problems of Kalamkari Units: restricted to only a handful of practitioners and the technique was a closely guarded secret. Unfortunately many a The Kalamkari art provides employment to thousands of traditional craftsman has taken this jealously guarded secret people, not only to artisans but also designers, activists etc. with him to his grave and no written records are available of But the drawback is that the industry is quite unorganized the techniques employed and the colour yielding plants used since it is cottage based and decentralized. Kalamkari units by him in his work. This has been mainly responsible for the in pedana are also no exception. They are also facing decline of this beautiful art form and we have now barely a plethora of problems, which are: dozen dye recipes in the place of over a hundred which existed before.‖ The period from 1924 up to Independence and beyond saw the near disappearance of the industry at Masulipatnam. At the same time at Kalahasti temple patronage declined and the local land lords lost wealth and power of patronage. In 1952 Kalamkari was revived at Masulipatnam at the instigation of some local textile lovers and with the help of the All India Handicrafts board. The Kalamkari as used and made in Iran was taken as model. In 1958 All India Handicraft board set up a training course and school for Kalamkari workers, drawing on skills of few remaining Kalamkari workers. (Gillow and Barnard, 1991) While there is a lot of material on the history of the Kalamkari fabric and its evolution, the academic literature on the Kalamkari market and its current products is very scarce. The textile industry in India is one of the core sources of income for the economy. Rangarajan says ―Textile industry is one of the main pillars holding the Indian Economy. It constitutes about 14 percent of industrial production, 20 percent of total export earnings, 4 percent of GDP and direct employment to an estimated 35 million people. In spite of these, India‘s entire share in the world textiles trade is still maintained at around 3 percent. Mills, power-looms and handlooms constitute three independent sectors of the Indian Textiles Industry.‖ Volume 9 Issue 7, July 2020 www.ijsr.net Licensed Under Creative Commons Attribution CC BY Paper ID: SR20713172207 DOI: 10.21275/SR20713172207 1100 International Journal of Science and Research (IJSR) ISSN: 2319-7064 ResearchGate Impact Factor (2018): 0.28 | SJIF (2019): 7.583 Lack of design, innovation and technology up gradation.
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